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Wednesday, December 24, 2014

The 2014 Buckle Awards. Not much to say, other than this was hard to narrow down and on another day I might have gone with a different nominee, or even winner.

But, every film and person and achievement is more than worthy of recognition, even if they don't get it at the Oscars (for the most part, unlikely).

What is interesting is that Inside Llewyn Davis was considered for last years awards - in fact it was the first film I watched in 2014 - but it received no nominations at all. What was I thinking? I have enjoyed it even more over subsequent viewings but I have not included it here. So, you never know how are you going to feel 12 months, 5 years or 10 years down the track. This is 2014 in review.

Best American/British Feature Film

Only Lovers Left Alive *WINNER*
Under the Skin *Runner Up*
Nightcrawler
The Grand Budapest Hotel
Birdman
Snowpiercer
All is Lost
Foxcatcher
Enemy
Dawn of the Planet of the Apes

Best International/Foreign Language Film

Why Don't You Play in Hell? *Runner Up*
Two Days, One Night
Mommy *WINNER*
Winter Sleep
Ida
The Great Beauty
Force Majeure
Tom at the Farm
A Girl Walks Home Alone at Night
Girlhood

Best Australian/New Zealand Feature Film

These Final Hours
Son of a Gun
What We Do In the Shadows *WINNER*
The Dark Horse
The Babadook
The Infinite Man *Runner Up*

Here are 20 films (from any year) I became obsessed with this year for one reason or another.

How many did you guess? Duck Soup (1933), His Girl Friday (1940), My Darling Clementine (1946), Stray Dog (1949), Singin' in the Rain (1952), On the Waterfront (1954), Rio Bravo (1959), Lawrence of Arabia (1962), Seconds (1966), Thief (1981), The Man Who Planted Trees (1987), Old Joy (2006), Dear Zachary: A Letter To A Son About His Father (2008), The Wolf of Wall Street (2013), Only Lovers Left Alive (2013), Under the Skin (2013), Mommy (2014), What We Do in the Shadows (2014), Birdman (2014), Nightcrawler (2014)

Monday, December 22, 2014

I have been more privileged than normal with the sheer number of
films I have been able to see this year. I ventured across the world to
attend the Toronto Film Festival, and made an effort to see at least one
film at each of the festivals that run in Australia. It has been a
terrific year, and I think what is notable is the incredible depth of
excellent films.

There were a number of titles that had a theatrical release in early
2014, but I saw in 2013 and were considered for last year’s list. They
include Nebraska, The Wolf of Wall Street, Inside Llewyn Davis, Her, 12 Years A Slave, The Great Beauty and Blue is the Warmest Colour. The first four films listed here would have made this short list, had I considered them.

So, with them exempt, the chosen films have been sourced from
everything else I saw in 2014, whether they had a theatrical release in
Australian cinemas in 2014 (or 2013 internationally), are set to have
one in 2015, screened at a festival or went straight to VOD/DVD.

I didn’t get the chance to see some of the best-received films internationally, like Citizen Four, Goodbye to Language, Obvious Child and Listen Up Phillip, or some of the films receiving Oscar buzz like Inherent Vice, Selma, A Most Violent Year and The Theory of Everything.

Thursday, December 18, 2014

The fact that the movie Home Alone is soon turning almost a quarter of a century old will certainly date some people. Arguably, though, the subsequent career of director Chris Columbus contributed to a variety of successful, entertaining movies as well. Either way you look at it, Home Alone remains one of the most memorable holiday films of all time.

Home Alone inserts viewers into the chaotic but loving McCallister family. The youngest of the lot, Kevin, played by MaCaulay Culkin, feels picked on and misunderstood by his boisterous family members. Like many families during the holiday season, the family scrambles to get everyone and everything in place for a trip to celebrate the season. But, in the frenzy of their preparations, little Kevin gets overlooked and ends up alone in a rather large house for an 8-year-old boy.

At first, this seems like a gift in disguise, as young Kevin has the chance to engage in all the misbehavior his parents scold him about. He gets to try on some adult activities, like using aftershave, as well as jumping on the bed with impunity. When a couple of burglars show up, though, Kevin has to delve deep into his bag of childhood mischief to protect his house and himself in this comedy of juvenile genius and adult criminal ineptitude. Separated by the Atlantic Ocean in a pre-Internet era, Kevin and his family have very few ways to contact each other at all, so he is left to his own devices.

John Hughes, who was already famous for his movies from the previous decade, wrote the script for this hit, giving director Chris Columbus rich material for a blockbuster comedy production. From an estimated budget of about 15 million dollars, the film brought in over 17 million during its first weekend and eventually accounted for well over 200 million in revenue in the US alone. Besides being a financial success, the movie also won over most reviewers to some degree, despite some critics who lamented the more unrealistic aspects of the plot line – even before the advent of automated home monitoring systems like ADT, forgetting a child at home and failing to contact any authorities isn’t exactly the easiest storyline to believe. The outlandish premise didn’t stop most moviegoers from going to see what damage this young protagonist could inflict on a couple of middle-aged miscreants.

It’s hard to believe that MaCaulay Culkin, the actor portraying the movie’s protagonist, has become a grown man with his own projects and interests, aside from wreaking havoc on inept burglars. The movie launched him into almost immediate stardom as a household name all over the world, but the sequels were met only with mixed reviews. In the real world, Culkin’s troubles with his parents (who were entangled in a custody war over MaCaulay and his fortune) made national and international news as he tried to gain more control over his financial future. Eventually, Culkin was able to parlay his skill, fame and resources into other projects, including stints in theater and music.

These days, the movie still rates above average on many review sites. The lack of appeal relative to its popularity when it was released can be partially explained by changes in the culture, which involves far more home security awareness, and sensibilities over the years. That being said, kids still seem to love this holiday classic that delivers a dose of adult-directed schadenfreude, as will adults who just want a trip down the path of their childhood reveries.

From the beloved novels by Michael Bond, Paddington tells
the story of the misadventures of a young bear (voiced by Ben Whishaw)
who travels to London in search of a home after his idyllic Peruvian
forest homestead is destroyed in an earthquake. Finding himself lost and
alone, he begins to realize that city life is not all he had imagined,
until he meets the kindly Brown family who take heed of the label around
his neck – “Please look after this bear. Thank you.” – and offer him a
temporary haven.

This is a fun, clever film and it is exceptionally well made. But, I
take a look at the impressive pedigree working on it and wonder why I am
surprised. Writer/director Paul King is the man behind Bunny and the Bull and The Mighty Boosh, which explains why Paddington
is so funny. King worked with editor Mark Everson on the aforementioned
projects, and this is a sleek, polished cut. Master DP Erik Wilson (The Double, 20, 000 Days on Earth and The Imposter)
shoots the film beautifully, while the delightfully rewarding
intricacies of the film’s design (for example, the Brown house reduced
to a dollhouse model and a sequence where Paddington appears to walk
through a projected image into a memory) and CGI/animatronic effects are
seamlessly woven into the film’s fabric.

Note: There are a fewfilms I won't get the chance to see this year - A Most Violent Year, Inherent Vice, Selma, The Theoryof Everything, '71 and Unbroken - so those performers will be a part of next year's considerations.

Wednesday, December 10, 2014

In cinemas this week: Paddington, Horrible Bosses 2, The One I Love and Folies Bergere

Paddington - From the beloved novels by Michael Bond and producer David Heyman (Harry Potter), Paddington tells the story of the comic misadventures of a
young Peruvian bear (voiced by Ben Whishaw) who travels to the city in search
of a home. Finding himself lost and alone, he begins to realize that
city life is not all he had imagined - until he meets the kindly Brown
family who read the label around his neck that says "Please look after
this bear. Thank you," and offer him a temporary haven. It looks as
though
his luck has changed until this rarest of bears catches the eye of a museum taxidermist.

Horrible Bosses 2 - The follow-up to the 2011 hit comedy reunites Jason
Bateman, Charlie Day and Jason Sudeikis as Nick, Dale and Kurt. Jennifer Aniston, Jamie Foxx and Kevin Spacey also reprise their Horrible Bosses
starring roles, while Chris Pine and Christoph Waltz
star as
new adversaries standing between the guys and their dreams of success.

The One I Love - The highly anticipated debut feature from acclaimed author Charlie
McDowell, The One I Love is an original tale that continues to showcase
McDowell's keen observations of human relationships with a distinct and
comedic voice. Written by Justin Lader, The One I Love was produced by
Mel Eslyn and executive produced by Mark Duplass who stars opposite
Elisabeth Moss. On the brink of separation, Ethan (Duplass) and Sophie
(Moss) escape to a beautiful vacation house for a weekend getaway in an
attempt to save
their marriage. What begins as a romantic and fun retreat soon becomes
surreal, when an unexpected discovery forces the two to examine
themselves, their relationship, and their future. ★★★★

Folies Bergere - Brigitte and Xavier are a couple of cattle farmers living and working
together in Normandy. They have always got on well but now that their
two children have left the household routine and weariness have set in.
One night, Brigitte, who has been invited to a party by a group of
Parisians in the house next to their farm, lets herself be wooed by
Stan, a witty, cool attractive young man. Some time later, giving a
visit to a dermatologist as an excuse, she goes to Paris to meet him.
But things do
not go according to plan. Stars Isabelle Huppert.

Weekly Recommendation: I have been recommended Folies Bergere and anything with Isabelle Huppert is usually worth watching. I really liked The One I Love. What a clever and fun film that is odd enough to keep you guessing but not so twisted it starts to become indecipherable. Duplass is such a funny guy, but Elizabeth Moss is terrific in an unusual role. It is a very interesting look at a relationship in trouble, and how desiring your partner to change isn't the answer unless you're willing to change too. And then there's Paddington, which is getting very positive reviews. I am now very much looking forward to it. A surprisingly interesting week. December is usually a bit of a graveyard - though last year American Hustle swept in a blew open the box office - in the lead up to the Boxing Day and the new year.

Over the last few months I have spent many hours catching up with some of the best received albums of the year. More time than watching films, I would say. Some didn't take my fancy, but many I enjoyed immensely. My second listen of my #2 ranked album was one of the most rewarding 40 minutes of the year.

Even though I barely scratched the surface of all of the music out there, here my top picks of 2014 with a Pitchfork rating out of 10.0:

Wednesday, December 3, 2014

In cinemas this week: Exodus: Gods and Kings, The Captive, The Congress, Alexander and the Terrible Horrible No Good Very Bad Day, Human Capital and The Green Prince.

Exodus: Gods and Kings - From acclaimed director Ridley Scott comes the epic story of one man's daring
courage to take on the might of an empire. Using state of the art visual
effects and 3D immersion, Scott brings new life to the story of the
defiant leader Moses (Christian Bale) as he rises up against the
Egyptian Pharaoh Ramses (Joel Edgerton), setting 600,000 slaves on a
monumental journey of escape from Egypt and its terrifying cycle of
deadly plagues. It's not a good film. I felt every one of those 150 minutes trickle by. It is very boring and
unintentionally goofy. Impressive early scale and design swallowed up by
a dull script with horrendous dialogue and character. There's nothing going on here. The key events in the story are all there
- Moses' banishment, the Red Sea, the Ten Commandments - but the lulls
in between are as vacant as Moses himself. ★★

The Captive - Matthew steps briefly into a diner and comes out to find that his young
daughter Cassandra has vanished without a trace from the back of his
truck. Her unsolved abduction destroys Matthew's once-happy relationship
with his wife, Tina, who, haunted by mementos of Cassandra that appear
mysteriously at her work, suspects her husband of foul play. Years
later, when detectives Nicole and Jeffrey discover recent images of
Cassandra online, Matthew risks everything to ensure his daughter's safe
return-and to save himself and Tina from the limbo of unrelenting despair.

The Congress - More than two decades after catapulting to stardom with The Princess
Bride, an aging actress (Robin Wright, playing a version of herself)
decides to take her final job: preserving her digital likeness for a
future Hollywood. Through a deal brokered by her loyal, longtime agent
(Harvey Keitel) and the head of Miramount Studios (Danny Huston), her
alias will be controlled by the studio, and will star in any film they
want with no restrictions. In return, she receives healthy compensation
so she
can care for her
ailing son and her digitized character will stay forever young. Twenty
years later, under the creative vision of the studio's head animator
(Jon Hamm), Wright's digital double rises to immortal stardom. With her
contract expiring, she is invited to take part in "The Congress"
convention as she makes her comeback straight into the world of future
fantasy cinema.Alexander and the Terrible Horrible No Good Very Bad Day - Follows the exploits of 11-year-old Alexander (Ed Oxenbould) as he
experiences the most terrible and horrible day of his young life - a day
that begins with gum stuck in his hair, followed by one calamity after
another. But when Alexander tells his upbeat family about the
misadventures of his disastrous day, he finds little sympathy and begins
to wonder if bad things only happen to him. He soon learns that he's
not alone when
his mom
(Jennifer Garner), dad (Steve Carell), brother (Dylan Minnette) and
sister (Kerris Dorsey) all find themselves living through their own
terrible, horrible, no good, very bad day. Anyone who says there is no
such thing as a bad day just hasn't had one.

Human Capital begins at the end, as a cyclist is run off the road by a
careening SUV the night before Christmas Eve. As details emerge of the
events leading up to the accident, the lives of the well-to-do Bernaschi
family, privileged and detached, will intertwine with the Ossolas,
struggling to keep their comfortable middle-class life, in ways neither
could have expected. Dino Ossola (Fabrizio Bentivoglio), in dire
financial straits, anticipates the birth of twins with his second wife
(Valeria
Golino).
Meanwhile, Dino's teenage daughter's relationship with hedge-fund
manager Giovanni Bernaschi's playboy son complicates an already tricky
social dance of status, money and ambition. Paolo Virzi's taut character
study deconstructs the typical linear narrative, observing
transformative events from each character's perspective. The result is a
nuanced account of desire, greed and the value of human life in an age
of rampant capitalism and financial manipulation. I caught this at the Sydney Film Festival, and though it has diminished considerably since the viewing, I got wrapped up in this quite clever screenplay. ★★★The Green Prince - Set against the chaotic backdrop of recent events in the Middle East,
Nadav Schirman's The Green Prince retraces the details of a highly
unprecedented partnership that developed between sworn enemies. In the
style of a tense psychological thriller, this extraordinary documentary
recounts the true story of the son of a Hamas leader who emerged as one
of Israel's prized informants, and the Shin Bet agent who risked his
career to protect him. I admired the way this was film put together - just the two testimonies,
Mosab and his Israeli SS handler - and sat quietly in shock as the
revelations were revealed. ★★★1/2

Weekly Recommendation: The Green Prince and Human Capital from what I have seen, but I am dying to see The Congress. Been on my radar for 18 months. Exodus is another misfire from Ridley Scott - don't say I didn't warn you.

Sunday, November 30, 2014

In other news we have completely finished Entourage. I had never ventured beyond Season 7, because I was disappointed by what the show had stooped too. But, on a re-watch Season 6 is the show's weakest season. Vince going out of control in Season 7 has a much more convincing and authentic progression than I remember, and both Drama and Turtle have interesting arcs. Ari aside, because Piven is so good, Turtle has grown into the show's unlikely MVP. S7 ends with one of the show's greatest celeb references - following Vince's altercation with Eminem at a party he gatecrashes. Drama defends Vince and gets beaten up in the process, despite being held back. He has this to say about this situation:

"If it wasn't for Jordan Farmar and that guy Kevin Love, I think I would have killed somebody." - Drama.

Who thought of this? NBA players Farmar and Love (who played for the Lakers and Timberwolves respectively at the time) appear as themselves, but in the mess of bodies it is hard to identify them. Every ep has oodles of references to celebs past and present, and guest involvement, but this might be my favourite of them all.

Anyway, here's what I saw in November.

-------- Essential Viewing --------

Dear Zachary: A Letter to a Son About His Father (Kurt Kuenne, 2008)-One of the greatest documentaries I have ever seen. I can't believe I didn't hear about this back in 2008. Devastating.

Why Don't You Play in Hell?(Sion Sono, 2013) - The better of the Sono pair I watched this month. How can you not enjoy this? It's a fast and furious ascent into the ridiculous, but you have to admire its manic
energy and ability to fuse informed commentary on the transition into the Digital era, and it's idolization of an era passed, with a story that is so
impressively complex. And the ending is full-on chaos. Sono knows exactly what he is doing - technically genius, it is so well constructed and consistently hilarious. One of the most enjoyable cinema experiences I have had this year.

Thief (Michael Mann, 1981) - Hotshot criminal caught between professional allegiance and clean
sanctuary, to the sounds of Tangerine Dream. Caan at his big-ego best and it looks amazing. They don't make them like this anymore. Mann's credible world and characters resemble Cassavetes and The Killing of a Chinese Bookie. Mann's career greatness to follow contained
within his debut.

Tokyo Tribe(Sion Sono, 2014) - I don't know what to say. Tokyo Tribe is one of those experiences you can't believe happened. Amazing.

We are the Best!(Lukas Moodysson, 2013) - The confidence here. Gets that 13-14 year old awkwardness spot on. Forming a band is just a form of antagonistic rebellion to begin with
- until the pair begin to have a blast with the idea, discover that
punk is a real ideal, forge a new friendship and mold their identity and
independence as a result. The three girls, all non pros, are perfect. I had a smile on my face through most of this. Good stuff.

Phase IV(Saul Bass, 1974) - I liked this trippy classic sci-fi, but I don't really know why. The conception and execution of the ant sequences is incredible. How was this even done? Even the human story was fascinating for the most part - the implosion of humanity when threatened by one of the smartest of Earth's creatures, and the aggressive obsession to understand and communicate with a force outside of the claustrophobic lab, when the answers lie within. I watched the alternate ending on Youtube afterwards. WTF. Better than the other one, though.